Scottish Paintings & Sculpture | 11/12/2014

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LYON & TURNBULL AUCTIONEERS EDINBURGH SCOTTISH PAINTINGS & SCULPTURE

email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

11TH DECEMBER 2014

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Thursday, 11th December, 2014 33 Broughton Place Edinburgh EH1 3RR

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Waverley Station Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

St Andrew Square

T

York Place Tram Station

Lyon & Turnbull saleroom

Local Deliveries A&S Pert Removals.

Tel. +44 (0)7876 343520.

Thistle Removals Tel: +44 (0)7836 774712 Email: thistleremovals@hotmail.co.uk New Leaf Removals Tel: +44 (0)7999 926261 Email: info@newleafremovals.co.uk Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

Smaller items & Pictures Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Aardvark Art Services Ltd Birks Farm, Ballam Road Lytham, Lancashire FY8 4NL Tel: +44 (0)1253 794673 Fax: +44 (0)1253 730580 Email: info@aardvarkartservices.com

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale.

Thereafter lots will be removed to store in Edinburgh and a charge incurred.

Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2014. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

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Thursday, 11th December, 2014 at 6.30pm Sale Number LT424

Viewing Sunday, 7th December 12 noon - 4pm Monday, 8th December 10am - 5pm Tuesday, 9th December 10am - 5pm Wednesday, 10th December 10am - 5pm Thursday, 11th December 10am - 1pm

Specialists Nick Curnow nick.curnow@lyonandturnbull.com Emily Johnston emily.johnston@lyonandturnbull.com Charlotte Riordan charlotte.riordan@lyonandturnbull.com

Catalogue: £10 BUYER’S PREMIUM 25% up to £25,000 20% thereafter.

VAT will be charged on the premium at the rate imposed by law. †20% VAT chargeable on the lot itself *5% import VAT on the lot §Droit de Suite (artist’s resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers).

ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

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LY O N & T U R N B U L L Important information for buyers

Buying at Auction This sale is subject to our standard Terms and Conditions of Sale. If you have not bought at auction before we will be delighted to advise you.

Estimates Estimates are printed below each lot and do not include the buyer’s premium. The sale will be conducted in pounds sterling.

Dimensions Dimensions are for guidance only; it is the buyer’s responsibility to ensure that they are correct.

Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon.

25% up to £25,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law. (see our Terms and Conditions of Sale).

VAT The symbol † by a lot number indicates that VAT is payable by the purchaser at the standard rate on the hammer price.

The symbol * by a lot number indicates that the lot has been temporarily imported from outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price.

No VAT is payable on the hammer price or premium for books bought at auction.

Droit de Suite This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years.

This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

All royalty charges are paid to the appropriate collecting organisation and no handling costs or additional fees are retained by the auctioneer.

Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale.

More information on Droit de Suite is available at www.dacs.org.uk Damage and Restoration Occasionally, when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer’s responsibility to ensure that the condition of lots is to their satisfaction (see our Terms and Conditions of Sale).

Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only and all lots are sold ‘as found’ (see our standard Terms and Conditions of Sale).

Electrical Goods Lots that were once operated by mains electricity are bought entirely at the buyer’s risk. They are offered for sale for display or historical purposes and may not comply with current regulations.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to rhino horn, ivory, coral and tortoiseshell.

Accordingly, prospective buyers should familiarize themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country.

It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

CITES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites/ Bidding Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/ bank statement) You may present these documents in person or, alternatively, fax or email copies to us. We may, at our option, also ask you to provide a bank reference and/ or deposit.

At the Sale Potential buyers must register and collect a bidding number before the sale begins, and show that number if successful in purchasing a lot.

Please ensure that the auctioneer repeats the number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable. If you have purchased a lot you may take your bidding number to the accounts department and receive an invoice immediately.

If you have not been successful please leave the number at the Registration or Reception desks.

In writing Bid forms are available at the sale and/or the back of the catalogue.

These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence. All bids must be received an hour before the sale. This service entirely at the bidder’s risk.

By telephone Bids submitted by telephone must be confirmed in writing.

Telephone bidding If you are unable to attend the sale we can normally arrange for you to bid on the telephone. This service is available entirely at our discretion and at the bidder’s risk. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. All bid requests must be received an hour before the sale.

Methods of Payment Goods purchased will not be released until we have received full payment.

Bank Transfer Please find details in any email invoice we issue or upon request from our accounts department.

Cash Cash payments can be made at the accounts desk during or after a sale.

Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Please note there is a 2% surcharge on credit card payments and we do not accept Amex..

Online Payments We no longer accept card payments by phone, please use our online payment service (powered by Credorax). You will find a link to this service in any email invoice issue or you can visit the payments section of our website.

Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice.

Collection It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom.

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1 FG798/1 GEORGE WATSON P.S.A. (SCOTTISH 1767-1837) HALF LENGTH PORTRAIT OF CAPTAIN DANIEL MACGREGOR IN MILITARY UNIFORM Oil on canvas 76cm x 63.5cm (30in x 25in)

and a companion by the same hand, his wife Ann Austin (2) Note: Captain MacGregor was the son of Captain Gregor MacGregor of the Inverardan family. He married Ann, eldest daughter of Dr. Adam Austin in 1786. He died in 1794 aged 42 and his wife died in 1809.

£3,000-5,000

George Watson was one of Edinburgh’s foremost portrait artists of the period and is widely considered Sir Henry Raeburn’s closest rival. Born in Berwickshire in 1767, he initially moved to Edinburgh where he undertook instruction from one of Scotland’s leading artists of the day, Alexander Nasmyth.

Progressing well, he pursued his education in London with Sir Joshua Reynolds and before long he was exhibiting regularly in the Royal Academy. Though Watson ultimately settled back in Edinburgh, biographer James Caw remarks that his London tutelage had a residual effect on his style and that he had “caught something of richness and breadth from his experience with Reynolds.”

Likewise, his “solid handling” and “considerable appreciation of character” led almost immediately to many high profile commissions, including Benjamin West and the Dean of Canterbury. The sitters in the two portraits offered here, Captain Daniel MacGregor of Glengyle and

his wife Ann Austin, were prestigious members of Edinburgh society, she the daughter of physician Dr Adam Austin and he a sea captain with the East India Company. They are perhaps best known, however, as the parents of colourful Regency character Gregor MacGregor – a soldier, adventurer, land prospector and convicted fraudster who helped secure the freedom of Venezuela from Spanish rule.

Though Watson was immensely successful, historians now consider his work to lack the innovation of Raeburn’s portraiture, being a more typical, if less inventive, representation of the style of the day.

Nonetheless, Watson was a fine artist and left an exceedingly important legacy to the Scottish art world through his instrumental role in the creation of the Scottish Academy. He was president from 1820 until his death, whereupon it received its Royal Charter, shortly after becoming the Royal Scottish Academy.

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2 HA990/1 ALLAN RAMSAY (SCOTTISH 1713-1784) HALF LENGTH PORTRAIT OF JOHN MURRAY OF PHILIPHAUGH Inscribed, oil on canvas 76cm x 63.5cm (30in x 25in)

£8,000-12,000

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3 HA854/1 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) PORTRAIT OF KATHERINE HAMILTON, LADY SUTTIE OF BALGONE Oil on canvas 89.5cm x 69cm (35.2in x 27.5in) Provenance: By descent from the sitter to her son Sir George Grant Suttie (1797-1878) Possibly Edward Mallinckrodt With Colnaghi’s Sotheby’s, London 16 May 1990, lot 46 Exhibited: Edinburgh, The Raeburn Exhibition 1876, no.38 (lent by Sir George Grant Suttie) Previously on loan to St Louis Art Gallery Literature: Sir W Armstrong, Sir Henry Raeburn, London and New York 1901, p.113 J.Greig, Sir Henry Raeburn, R.A. His Life and Works, London 1911, p.61

£15,000-20,000

Katherine Hamilton married Sir James Suttie, 4th Baronet of Balgone, in 1792. This portrait was probably painted in the years following their marriage, around 1795. They later changed their name to Grant-Suttie after Sir James inherited his estate, following the death of his aunt, Janet Grant, Countess of Hyndford.

The family were associated with two homes in East

Lothian; Balgone and Prestongrange. Both remained in the family until the twentieth-century, with Balgone sold to another private owner while Prestongrange is now the clubhouse of the Royal Musselburgh Golf Club.

Sir Henry Raeburn focussed the entirety of his career in Scotland, eventually serving as His Majesty's Limner for

Scotland. He was a remarkable portrait painter, able to create truthful and flattering likenesses, as acknowledged by a contemporary, who wrote, Raeburn ‘never fails in giving a likeness at once vivid, unmistakable and pleasing.

He paints the truth, and he paints it with love.’ Unusually amongst artists of the time, Raeburn always worked from

life, without preliminary sketches – the resulting strong light effects and broad brushstrokes add a dynamism and vivacity to his striking portraits.

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4 HA710/3 JANE NASMYTH (SCOTTISH 1788-1867) A HIGHLAND LOCH AT SUNSET Inscribed on a label verso, oil on canvas 46cm x 61cm (18in x 24in)

£4,000-6,000

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5§ HA791/5 ALFRED DE BREANSKI SNR. (BRITISH 1852-1928) GLENCOE Signed, signed and inscribed verso, oil on canvas 20cm x 31cm (8in x 12in)

and a companion, a pair ‘Loch Katrine’ (2) £4,000-6,000

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6 HA68/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) MAY MORNING Signed and dated 1883, oil on canvas 76cm x 136cm (30in x 53.5in) Note: This is a portrait of the children of Major Urquhart Exhibited: Royal Scottish Academy, 1884, no.337 Dundee Exhibitions, 1884 Literature: James L Caw, William McTaggart 1917, p.251

ÂŁ30,000-50,000

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This impressive painting depicts the children of William Walton Urquhart of Rosebay, Broughty Ferry playing along a riverbank with the family dog on a stunning May morning in 1883. Mr Urquhart’s company Urquhart, Lindsay & Co. made machinery for the jute and textile industry at the Blackness Foundry in Dundee. His friend, George Halley, a fabric mill owner, was well acquainted with William McTaggart having had several members of his family

painted by the artist. Halley introduced McTaggart to William Urquhart who commissioned the painting of his children, Sarah (b. 1874), Christina (b. 1871), Muriel (b.

1879) and William Lindsay Urquhart (b. 1875) (shown from left to right). Three of the children have removed their shoes and socks and are carefully stepping across the riverbed, the dog eagerly awaits them on the other side. The little boy is collecting natural curiosities and storing them in his hat.

The subject makes a charming family portrait, alive with the spirit of childhood.

The boy, William Lindsay, is the grandfather of the present owner and this painting has never left the family.

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7ยง HA710/24 ANNIE ROSE LAING (SCOTTISH 1869-1946) A SUNLIT BREAKFAST ROOM Signed, oil on canvas 46cm x 36cm (18in x 14in)

ยฃ5,000-7,000

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8 HA948/1 WILLIAM MCTAGGART R.S.A., R.S.W. (SCOTTISH 1835-1910) THE BONNIE MUIRLAND Signed and dated 1900, oil on canvas 66cm x 91cm (26in x 36in) Literature: Recorded on p.273 of J. L. Caw's biography of the artist, 'William McTaggart: A Biography and Appreciation', pub.James Maclehouse and Sons, Glasgow in 1917. Catalogued 'No.20, McTaggart Ex., Mrs James Lindsay, Edinburgh.'

£40,000-60,000

In The Bonnie Muirland, three children appear to have found a bird or field mouse and are tenderly examining the creature, their faces conveying curiosity, excitement and concern. The view of the field is likely to be from the back of McTaggart’s house in Broomieknowe, the Midlothian village to which he moved in 1889.

The painting is an exceptionally strong example of McTaggart’s gift at capturing light and colour.

The rapid brush strokes and dashes of yellow, blue and pink give the painting a fresh feeling and sense of movement - an impression of the warm breeze passing.

The painting also expresses McTaggart’s overwhelming love of nature. Errington described this approach to nature: ‘humanity takes its place not as something superior to but part of the nature he seeks to paint...there is no British landscape painter who has a more complete power of presenting nature in her richest and most glorious effulgence of brilliant sunlight’. (A. Errington, The Studio, Volume 47, p.83, 1909). The Bonnie Muirland is a fine example of this vision of humanity as part of nature; the children are completely at one with their natural environment.

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9 HA791/7 LOUIS BOSWORTH HURT (BRITISH 1856-1929) HIGHLAND CATTLE BY THE LOCHSIDE Signed, oil on canvas 51cm x 76cm (20in x 30in)

£7,000-10,000

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10ยง HA658/7 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) A HIGHLAND FARMSTEAD Signed, oil on canvas 102cm x 157cm (44in x 61.75in) Provenance: Lyon and Turnbull, Edinburgh, Drambuie Collection 2006, lot. 31

ยฃ3,000-5,000

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11 HA766/1 KEELEY HALSWELLE R.I., A.R.S.A. (SCOTTISH 1832-1891) SANTA MARIA DELLA SALUTE BY MOONLIGHT Signed and indistinctly dated, oil on canvas 25.5cm x 36cm (10in x 14in)

£1,000-1,500

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12 HB62/2 JOHN MACWHIRTER R.A., H.R.S.A., R.I., R.E. (SCOTTISH 1839-1911) THE TRYST Oil on canvas 60cm x 96.5cm (23.5in x 38in)

£4,000-6,000

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DAVID GAULD Gauld has very strong associations with the city of Glasgow. Trained at the art school there, he soon became associated with the Glasgow Boys: a movement of male artists associated with the city, dissatisfied with the Scottish art establishment and interested in exploring realism and naturalism in painting. He even shared studio space with fellow Glasgow Boys, William Stewart MacGeorge and, later, Harrington Mann. His legacy is, appropriately, best represented in Glasgow, with the Hunterian Art Gallery owning a wide selection of his work.

An Old English Mill, Calves Outside a Byre and Calves by a Water Butt are very typical examples, both of Gauld’s style and of the key aesthetics and principles of the Glasgow Boys. Dissatisfied with the narrative subjects and

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sentimentality of late Victorian painting and inspired by artistic developments in France, they moved outside to depict rural scenes naturalistically, putting a Glasgow spin on French Impressionism. The attractive light effects and rural subject matter proved extremely popular and was widely collected; Gauld became particularly known for his depiction of cows and calves, standing and lounging in sun-dappled light.

In the late 1880s, many of the Glasgow Boys started moving towards a more decorative approach, inspired by the influx of Japanese prints in Britain and Whistler’s innovative approach. Gauld painted a series of portraits of young women, their faces emerging from a screen of lush green foliage, including Head of a Girl. These striking paintings, with their flattened

composition and decorative nature, are especially distinctive and hint at the further influence of PreRaphaelitism. This decorative style, combined with Gauld’s friendship with Charles Rennie Mackintosh, have led to suggestions that he can be seen as a precursor, or bridge, to the Art Nouveau movement.

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13 HA823/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) HEAD OF A GIRL Signed, oil on canvas 51cm x 41cm (20in x 16in) Provenance: William Davidson, Windyhill and by family descent Fine Art Society, London 1992 Private Collection Literature: Kenneth McConkey, Edwardian Portraits, Images in an Age of Opulence, 1987, pp.115, ill. pp.114 Exhibited: Kirkcudbright Town Hall, The Glasgow Boys at Kirkcudbright, 2011, no.7

ÂŁ10,000-15,000

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14 HA362/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES OUTSIDE A BYRE Signed, oil on canvas 51cm x 76cm (20in x 30in)

£3,000-5,000

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15 HA249/1 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) AN OLD ENGLISH MILL Signed, oil on canvas 71cm x 91cm (28in x 36in)

£3,000-5,000

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16 HB123/5 DAVID GAULD R.S.A. (SCOTTISH 1865-1936) CALVES BY A WATER BUTT Signed, oil on canvas 51cm x 61cm (20in x 30in)

£3,000-5,000

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17ยง HA710/20 GEORGE HOUSTON R.S.A., R.S.W., R.I. (SCOTTISH 1869-1947) WINTER VEGETABLES Signed, oil on canvas 71cm x 91cm (28in x 36in)

ยฃ3,000-5,000

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ROBERT GEMMELL HUTCHISON Edinburgh artist Robert Gemmell Hutchison is one of Scotland’s most perennially popular painters. His work has a broad appeal, bridging as it does the Dutch genre tradition, the muted palette and realism of the Glasgow School and the airiness of Scottish Impressionism. As such, he cannot be grouped with any one specific movement, his body of work distinctively his own, not to say cannily commercial in its amalgamation of popular artistic trends.

Dutch art has had a long influence over Scottish painting, notably shaping the work of earlier artists like the Faed family who famously championed the narrative genre scene. Gemmell Hutchison took his cue from the artists of the later Hague School, focusing on naturalism and atmosphere over rustic charm. Despite this obvious influence, Hutchison’s work maintains a clear Scottish identity and his explorations of childhood activities are often given colloquial titles in Scots vernacular. Hallowe’en

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depicts one such activity traditionally enjoyed in Scotland: bobbing for apples.

A group of young children gather round a tub on the rough floor of their cottage while a baby, too little to participate, watches on from a cushioned wooden chair nearby. As demonstrated here in Lullaby, Hutchison’s depiction of children is markedly affectionate, possibly due to the fact that he regularly used his own offspring or their friends as models. Yet, for all the sweetness of his subject matter, his technical accuracy and use of a subdued, low light saves his work from over-sentimentality. Large examples like Hallowe’en are relatively rare to market but remain among the artist’s best work. Encouraged perhaps by the huge canvases of the Newlyn School that were regular fixtures of the Royal Academy exhibitions during the late 1880s and 90s, Hutchison often excelled himself on this scale. Lullaby is one of few known examples where Hutchison employed the more

vivid tonalities of red and black; the mother’s skirt a decorative pattern of flurried brushwork.

As his technique matured and artistic trends on the Continent developed, his style also began to adapt to the influence of the visionary Scottish painter Willam McTaggart. His children emerged out of their darkened cottage interiors and into the brilliant light of coastal Scotland. The bright light, foaming seas and windswept grasses allowed for looser, broader and more vigorous brushwork.

Respected critic and historian James Caw praised Hutchison’s storytelling ability through his “well thought out” compositions. Above all, it was his “fresh and individual” approach to the depiction of childhood that won him his host of supporters and position as a regular exhibitor in the Royal Scottish Academy - as well as accounting for the longevity of his popularity.

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18 FA223/9 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) LULLABY Signed, oil on canvas 63.5cm x 46cm (25in x 18in) Exhibited: British Association Exhibition 1939

ÂŁ10,000-15,000

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19 HA791/3 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) THE TOY BOAT Signed, oil on board 23cm x 31cm (9in x 12in)

£8,000-12,000

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20 HB123/4 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) SHELL GATHERERS Signed, oil on board 46cm x 35.5cm (18in x 14in)

£10,000-15,000

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22 HA799/1 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SUCH BURIAL,THEN, THE ILLUSTRIOUS HECTOR FOUND Oil on canvas 89cm x 183cm (35in x 72in) Exhibited: Royal Scottish Academy 1893, no.350 Burlington Fine Arts Club 1907, no.51 Aberdeen Art Gallery, Robert Brough 1995, ill.pl.6, pp.10,45

£3,000-5,000

21 HB28/1 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) HALLOWE’EN Signed, oil on canvas 76cm x 102cm (30in x 40in)

£20,000-30,000

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22 HA799/1 ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SUCH BURIAL, THEN, THE ILLUSTRIOUS HECTOR FOUND Oil on canvas

facilitated his rapid climb into the highest artistic circles of London.

As a young man, art was already a compulsion which filled his every spare moment of time and soon he was 89cm x 183cm (35in x 72in) accepted into the Royal Scottish Academy’s life Exhibited: Royal Scottish Academy 1893, no.350 classes. It is recorded that by Burlington Fine Arts Club 1907, no.51 the end of his first year he Aberdeen Art Gallery, Robert Brough was the most accomplished 1995, ill.pl.6, pp.10,45 student there, winning The £3,000-5,000 Chalmers Bursary, The Stuart Prize for Figure Painting and the Maclaine-Watters medal.

Had Robert Brough not died tragically in the Storrs Mill We need only look at the train disaster at the age of painting offered here for sale only thirty two, his position in to understand exactly how the canon of British art skilled an artist Brough was. history might be decidedly Such Burial then, The more prominent. He was Illustrious Hector Found was precociously talented and also painted and displayed at the possessed charm and good RSA in 1893 when Brough looks, a combination which by was just twenty one years old. the time of his death had It is remarkable in its

ambitious scale and the brio of its technique. The figures of Hector’s wife Andromache and their children are depicted naked; their brazier lit forms daringly picked out in virtuoso, minimal licks of paint. A chorus-like crowd of figures watches on from the shadows as one blurred, homogenous mass. It was Brough’s only classical subject and is thought to be the painting which won him the Maclaine-Watters medal.

Though he had a close friendship with the country’s leading portrait artist John Singer Sargent, and frequently emulating Sargent’s bravura style in his own work, Brough was also close to Samuel J. Peploe having studied alongside him at the RSA and Academie Julian in Paris in 1894.

Brough spent many months in Brittany, where, like fellow Scots Charles Hodge Mackie and John Duncan, he gained exposure to the Nabis School of artists led by Gaugin. Their Post-Impressionistic tendencies began to filter into Brough’s work. We can speculate, therefore, that his untimely death cut short what may have been an inevitable move towards Modernism.

Though his life was tragically short and his career was stunted in its relatively early stages, Brough was a large enough talent to hit an impressive stride at an exceptionally young age, leaving behind a small but important body of work, the remarkable nature of which deserves to figure larger in the nation’s consciousness.

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23§ HB123/8 WILLIAM MILLER FRAZER R.S.A. (SCOTTISH 1864-1961) DUCKS ON A RIVER BANK Signed, oil on board 36cm x 46cm (14in x 18in)

£800-1,200

24 HB123/7 SIR JAMES LAWTON WINGATE R.S.A. (SCOTTISH 1846-1924) FEEDING THE CALVES Signed, oil on canvas 44cm x 49cm (17.25in x 19.25in)

£1,000-1,500

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25 HA824/1 EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE PAISLEY SHAWL Signed and dated 1924, oil on canvas 101cm x 76cm (40in x 30in)

£10,000-15,000

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26ยง HA710/5 JOHN MCGHIE (SCOTTISH 1867-1952) GATHERING WILD FLOWERS Signed, oil on canvas 51cm x 41cm (20in x 16in)

ยฃ3,000-5,000

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27 HB130/1 PHOEBE ANNA TRAQUAIR (SCOTTISH 1852-1936) ANGELUS DE SOMMIÉ Signed with a monogram and titled with contemporary label verso, oil and gilt on board 29cm x 27cm (11.5in x 10.5in)

£2,000-3,000

28§ HA69/1 ANCELL STRONACH (SCOTTISH 1901-1981) A VISITATION Signed and dated 1921, watercolour 48.5cm x 45cm (19in x 17.75in)

£2,000-3,000

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29§ HB130/2 JOHN DUNCAN R.S.A., R.S.W. (SCOTTISH 1866-1945) FORCE AND REASON Signed, tempera on paper laid down on canvas 76cm x 63.5cm (30in x 25in) Provenance: The current owner’s grandfather was a friend of the artist and kept him supplied with eggs for making up the tempera. He received paintings as gifts in return.

£10,000-15,000

Art was less a career for John Duncan than a vocation.

Dundee born and educated, he began his art training at the age of eleven and was receiving commissions for his illustrations from his early teens. His friendship with Patrick Geddes - the renowned sociologist, botanist and Celtic Revivalist convinced him of the rightness of his chosen path and the pair worked closely with one another for much of their lives, attempting to further Geddes’ educational doctrine.

Duncan was reasonably welltravelled, his excursions abroad always made with the intent of refining his personal artistic style. Having lived as a book illustrator in London for three years he then spent time in Paris and Italy before studying at the Antwerp School of Art in 1890. His

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relationship with Geddes also led to a three year stint as an art teacher in the Chicago Institute, a school which upheld their progressive values. Ultimately, Duncan returned to Scotland, making his permanent home in Edinburgh for the rest of his life. Young artists, including Eric Robertson and Cecile Walton, gravitated towards him, in admiration of his dedication to his art practise and his philosophical conversation. He also became a founding member of the Glasgow Arts and Crafts Society which numbered Fra and Jessie Newbery, George Walton, Phoebe Traquair and Robert Burns among its ranks.

More than anything, Duncan prized the decorative above all other considerations in art.

His work is a distinctive assimilation of key artistic influences which combine to form something wholly unique. One can draw similarities with the PreRaphaelites and French Symbolists but it is more the case that Duncan’s art takes inspiration from these groups than belongs to them. His work has all the imagination of the Pre-Raphaelites, for example, but avoids their fey

dreamscapes in favour of classicism and mythology.

Likewise, though the influence of leading Symbolist Gustave Moreau is obvious, there is a refinement to Duncan’s work which deliberately avoids the latent eroticism and general decadence which permeates the work of the French school. If asked to name his single biggest influence, Duncan may well have instead named one of the Renaissance Masters – he hugely admired the bold simplicity of artists like Fra Angelico and sought to achieve a similar strength of modelling in his own work.

This admiration is also reflected in his unusual chosen medium from 1910 onwards and as seen in the example offered here for sale: tempera.

In terms of subject matter, Duncan cast his net of inspiration wide, depicting as here - figures from Greek mythology, as well as Biblical scenes and chapters from Arthurian and Celtic legend.

The traditional title which has accompanied this work is Force and Reason, though the iconography is not typical of the goddesses of these particular attributes. Duncan

had a rich imagination, however, and claimed to receive ‘visions’ which were so strong they bordered on hallucination. These would frequently serve as inspiration and he would torture himself trying to render them accurately in reality. Highly typical of his mature work, the painting has a Byzantinelike flatness and graphic linearity, its palette consisting of layered tones of grey offset with pure colour. Flat plains of quiet empty space occupy areas of his composition and the entire cumulative impact on the viewer is one both highly decorative and mysteriously ethereal.

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30§ FA223/3 PATRICK DOWNIE R.S.W. (SCOTTISH 1871-1945) LOW TIDE Signed and dated 1911, oil on canvas 76cm x 63.5cm (30in x 25in)

£2,000-3,000

31 HA990/2 GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) THE JAPANESE FAN Signed, oil on canvas 51cm x 46cm (20in x 18in)

£4,000-6,000

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32 HA146/74 JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861-1913) RUNNING HORSE Signed, watercolour 12cm x 18cm (4.75in x 7in)

£500-700

33 HA146/62 JOSEPH CRAWHALL R.S.W. (SCOTTISH 1861-1913) HUNTSMAN AND HOUNDS Watercolour 23cm x 27cm (9in x 10.5in) Provenance: A.C.J. Wall and by descent through the family Exhibited: British Empire Exhibition 1938, no.207

£4,000-6,000

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34 HA72/1 SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (IRISH 1856-1941) KITE BALLOON AND GRAND FLEET IN THE DISTANCE, THE PIERS, FORTH BRIDGE Signed, signed, inscribed and dated 1917 verso, oil on canvas 63.5cm x 76cm (25in x 30in) Literature: Kenneth McConkey, Sir John Lavery, 1993, p.136, illustrated figure 168 Kenneth McConkey, John Lavery: a Painter and His World, 2010, p.136, illustrated figure 160

£18,000-25,000

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The drama of this painting is achieved through the contrasts of scale between the monumental bridge, the small figures in the foreground and the ships in the distance. It is one of a series of Lavery’s First World War paintings centred on the military activities in and around the Firth of Forth.

Most of the series are in the Imperial War Museum in London.

‘Armed with the necessary permits from the Chief Naval

Censor, Lavery spent September 1917 painting the ports and harbours on the Forth, with the Forth Railway Bridge, the statuesque shapes of the Grand Fleet, and the ever-changing skies of the east coast as a backdrop. His activities attracted the attention of local children and the police, who suspected him of being a spy.

From the French windows of St Margaret’s House, then the official residence of the

Commander-in-Chief, Coast of Scotland, and sited high on the cliffs of North Queensferry, Lavery had a fine view of Rosyth Naval Base with battleships at anchor in the Forth. Nearby was North Queensferry Air Station, which became the subject of one of his most striking war pictures.‘ (Exhibition Introduction: War at Sea, Scottish National Portrait Gallery, Edinburgh, Dec 2011 - Oct 2012).

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35§ HA710/2 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) LOCH NELL, ARGYLL Signed, inscribed verso, oil on panel 20.5cm x 25.5cm (8in x 10in)

£2,000-3,000

36§ HA825/6 SIR DAVID YOUNG CAMERON R.A., R.S.A., R.W.S., R.S.W., R.E. (SCOTTISH 1865-1945) LOCH INSH Signed, inscribed verso, oil on canvas 42cm x 52.5cm (16.5in x 22.5in)

£2,000-3,000

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SIR MUIRHEAD BONE Muirhead Bone escaped what he felt to be the “mildness” of the turn-of-the-century Scottish art scene by striking out for London in 1902. By 1910 he was already considered a success with representation by some of London’s most prestigious galleries, his work hanging alongside the likes of Orpen, Sickert, Rodin, Beardsley and Beerbohm. He began taking on “daunting subjects and viewpoints,” consistently favouring the depiction of famous historical buildings and views; recapturing them amidst the bustling realism of the modern day.

Early in his career Bone had developed the theory that to be a great etcher, an artist must be temperamentally suited to the medium. The facilities called upon to draw were, he felt, quite different, and he praised Whistler’s masterful etchings over his “uncertain” drawings. Bone himself was extremely adept in both mediums, as the works offered here for sale attest. Though his prints ran in relatively large numbers of reproductions, his drawings -

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particularly on the large scale shown in two of the examples here - remain fairly scarce.

The drawings he made on his frequent travels to Europe and beyond are widely regarded as the best he produced. Italy was his first stop, where he admitted to first being daunted by the celebrity of the architecture, feeling that “too many other artists had licked the platter clean”. He soon found his voice however, and the scene shown here of Venice is certainly a fresh take on the subject matter: the lagoon by night from the deck of a vast cruise liner.

Spain was of particular importance to Bone and it was here that he produced some of his most extraordinary and critically regarded drawings. Visiting for whole summers between 1924 and ‘28, he collaborated with his wife Gertrude on a text called ‘Old Spain’ for which she provided the prose and he the illustrations. The Rock Tomb of Pelayo Covadonga was one of his finest studies for the project -

the artist’s imagination clearly stimulated by his wife’s representation of Pelayo as a kind of Spanish Robert the Bruce, fighting to overthrow Ottoman rule.

A trip to New York for three months in 1923 was also fruitful, and Bone’s sketches of the towering skyline and teeming street life of Manhattan have a palpable vivacity that demonstrates an energised engagement with his subject. Each time, the sketches were sent home and exhibited. The reviews rolled in with the critic for The Morning Post remarking that, “…thought stops. One merely stands in front of (his) drawings with dumb amazement”. It must surely be agreed that today his sketches have lost little of their effect on the viewer.

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37ยง HA146/2A SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) MIDNIGHT IN VENICE Coloured chalks 52cm x 32cm (20.5in x 12.5in) Exhibited: XVII Biennial International Art Exhibition, Venice, 1932

ยฃ2,000-3,000

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38§ HA146/19A SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) GALATA BRIDGE, CONSTANTINOPLE Signed, inscribed and dated 1922, pen and ink and wash 33cm x 52cm (13in x 20.5in)

£1,500-2,000

39§ HA146/60 SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) MANHATTAN NIGHT Signed and inscribed ‘New York’, charcoal 20.5cm x 25.5cm (8in x 10in)

£600-800

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40§ HA146/3A SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) KING PELAYO’S TOMB, COVADONGA Coloured chalk 79cm x 54cm (31in x 21.25in)

£500-800

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41§ HA365/1 SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) SELF PORTRAIT Oil on canvas 51cm x 41cm (20in x 16in) Note: The painting bears a T & R Annan and Sons Ltd label verso identifying the artist and sitter.

Literature: For comparison see the photo of Bone by Annan, Sylvester Bone, Muirhead Bone - Artist and Patron 2009, p.58

£1,000-1,500

42§ HA146/49 SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT. (SCOTTISH 1876-1953) AILSA CRAIG Signed, oil on canvas 36cm x 51cm (14in x 20in)

£800-1,200

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43ยง FG412/9 JOHN MAXWELL R.S.A. (SCOTTISH 1905-1962) PORTRAIT OF DOROTHY PEACH Oil on canvas 76cm x 63cm (30in x 25in) Exhibited: Scottish National Gallery of Modern Art, Maxwell Memorial 1963, no.82 Scottish National Gallery of Modern Art, John Maxwell 1999, no.47

ยฃ3,000-5,000

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44 HB87/1 JOHN SMART R.S.A., R.S.W., R.B.A. (SCOTTISH 1838-1899) ALTON LINKS, ABERDEEN Inscribed, watercolour 43cm x 70cm (17in x 27.5in)

£30,000-50,000

2014 was a big year for golf in Scotland with Gleneagles hosting the Ryder Cup, while the Scottish Open played out at the Royal Aberdeen Golf Course.

The course and club at Royal Aberdeen has a vibrant and interesting history. The geographical origins of the game of golf are hotly contested, and Aberdeen stakes its claim with the evidence that the earliest recorded mention of a golf hole, circa. 1625, was the Queen’s Hole on the Links of Aberdeen. The current location of the club, and scene of the 2014 Scottish Open, was established in 1888 but the club itself has existed since 1780, making it one of the oldest golf clubs in the world. From 1780-1815, it was known as The Society of Golfers at Aberdeen and held some quirky traditions: electing members by ballot, sporting a uniform of a scarlet jacket with gold buttons and implementing a five minute time limit on searching for golf balls.

John Smart painted this scene, Alton Links, Aberdeen, as part of the series of works he remains best known for, The Golf Greens of Scotland.

This was a series of 20 watercolour paintings of different Scottish golf courses painted in the 1880s and 1890s, which in 1893 was turned into a publication with each scene engraved by George Aikman. The offered painting depicts an important and historic moment in the history and development of this important club, capturing the club on the cusp of its move to the new premises at Balgownie in 1888. The reason for the move, other sports ruining the grass: ‘considering the way that the links was being cut up by cricket and football players, a private course at Balgownie should be procured for golfing purposes’.

opportunity to begin studying under Horatio McCulloch. As an artist, he was committed to watercolour as a medium, and was a founding member of Royal Scottish Society of The Painters in Watercolour and elected to the Royal Scottish Academy in 1877.

Passionate about landscape painting and sport, painting golf scenes allowed him to combine both of these interests. The critic James Caw described the effect of Smart’s art, as follows, “they are simple and effective in design, vivid in effect and powerful in execution, and breathe an ardent passion for the landscape of his native land.”

Smart was born in Leith, the son of an engraver. Originally intending to train as an engraver, after demonstrating an aptitude for landscape painting, he was offered the

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45§ HA710/25 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) ANGUS BY THE ROAD Signed, oil on canvas 61cm x 51cm (24in x 20in)

£4,000-6,000

46 HA775/1 JAMES KAY R.S.A., R.S.W. (SCOTTISH 1858-1942) BYWAY, BELGIUM Signed, oil on board 46cm x 31cm (18in x 12in)

£3,000-5,000

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47ยง HB123/2 JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE TAY ESTUARY FROM BELOW DRON, THE TAY BRIDGE IN THE DISTANCE Signed, oil on canvas 51cm x 61cm (20in x 24in)

ยฃ4,000-6,000

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48 HB123/6 WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) THE HIGH ROAD Signed, oil on board 33cm x 38cm (13in x 15in)

£1,500-2,000

49§ HA415/1 SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) HARVEST Signed, inscribed on a label verso, oil on board 16cm x 36cm (6.25in x 14in) Exhibited: Aitken Dott & Son, Christmas Exhibtion 1968, no.47

£2,500-3,500

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50§ HB123/3 JOHN MACLAUCHLAN MILNE R.S.A. (SCOTTISH 1886-1957) RED ROOFS, PROVENCE Signed, oil on canvas 71cm x 91cm (28in x 36in)

£10,000-15,000

Following the tradition of the Scottish Colourists, Maclauchlan Milne moved south from Paris in the early 1920s. A Dundee newspaper

reported: ‘It is difficult keeping pace with Mr Maclauchlan Milne. A year ago he was painting Scottish fields with the soft sunlight and mellow atmosphere. Then Paris seized him, and he gave us canvases splashed with vivid colour, radiating gaiety and the joy of life. Now he has drunk “a beaker full of the warm South” and has brought back from the azure shore

pictures that palpitate with hot sunlight and dazzle with their audacious colour.’

In this painting, the whitewashed houses with red terracotta roofs, the umbrella pine trees and limestone mountain in the distance all strongly recall the warm, bright landscape of Provence.

Like so many artists in the early twentieth century, Milne

was heavily influenced by Paul Cézanne. Through knowledge of Cézanne’s painting, he began to paint large scale Provençal landscapes with a depth and strength which gave his paintings a new solidity and a sense of volume and space.

One can almost feel the heat, hear the cicadas and smell the pine needles.

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SIR WILLIAM GEORGE GILLIES William Gillies had the gift of being equally talented at both oil and watercolour painting, while his oeuvre was divided between still lifes and landscapes. This sale includes examples of both subjects in both mediums as well as the artist’s own palette and painting case.

Gillies was well versed in the trends of European modernism. In 1924 he was awarded a travelling scholarship enabling the young artist to study for one year in Paris with the Cubist painter André Lhote. Gillies’s

51§ HB81/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) BORDER LANDSCAPE WINTER Signed, oil on canvas 51cm x 61cm (20in x 24in)

£4,000-6,000

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own experiments with Cubism did not last long but he kept a close eye on his contemporaries on the Continent. In Still Life Red and Grey, the composition and the flattened perspective, with a complete lack of shadows or highlights, show a debt to Henri Matisse‘s studio interiors, while the grey tones of the palette and the painterly technique recalls George Braque’s still life painting.

As one of the most important painting tutors at the Edinburgh College of Art

during the twentieth century, it was essential that Gillies maintained his knowledge of the work being produced abroad. Furthermore, Gillies was able to respond to this art in his own work whilst maintaining his distinctly recognisable style. Major exhibitions in Edinburgh of the works of Edvard Munch in 1931 and Paul Klee in 1934 opened up to Gillies a fresh means of exploring landscape painting. His landscapes of the Lothians and Borders are wonderfully expressive in colour and brushwork.

Gillies remains one of Scotland’s most important artists, not only for his extraordinary output and his involvement with his contemporaries, such as Anne Redpath and William MacTaggart, but also for the legacy of his inspiring teaching at Edinburgh College of Art.

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52ยง FG412/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) STILL LIFE RED AND GREY Signed, oil on canvas 91cm x 138cm (36in x 54.25in) Exhibited: Scottish Arts Council, William Gillies Retrospective 1959 (lent by the artist) Royal Scottish Academy 1959, no.170 John Moores Liverpool Exhibition 1969

ยฃ8,000-12,000

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53§ HA989/2 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A. (SCOTTISH 1898-1973) BORDERS LANDSCAPE Signed and dated ‘38, watercolour 48cm x 63cm (19in x 25in) Provenance: A gift from Gillies to the current vendor’s family from whom he rented his house in Temple

£4,000-6,000

54 THE PALETTE AND TRAVELLING PAINTING CASE FORMERLY BELONGING TO SIR WILLIAM GEORGE GILLIES Provenance: The palette was the 1981 Landscape Prize at Edinburgh College of Art and won by the present vendor

£500-800

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55ยง HB93/1 SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) THE POND Signed, oil on canvas 76cm x 63.5cm (30in x 25in) Exhibited: Aitken Dott & Son Ltd, Edinburgh, Festival Exhibition 1952, no.20

ยฃ5,000-8,000

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56 HA67/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA, JUNE Signed, signed and inscribed verso, oil on panel 37cm x 45cm (14.5in x 17.75in) Note: This is a view looking towards Loch Na Keal, the beach at Eilean Annraidh to the left

ÂŁ30,000-50,000

This sublime example of Cadell’s extraordinary gift for colour also demonstrates his ability to make a painting look entirely unlaboured. With a few dashes of the brush, he captures blades of grass, rocks emerging from sand, shimmering water and shifting clouds overhead. The palette is deliberately limited, largely composed of cerulean blue, turquoise, violet and shades of white. The overall effect is of a light summer day, refreshed with the sea breeze, but perhaps able to turn overcast at any moment.

Iona, June is painted from the White Strand at the north end of Iona, looking northeast towards Loch na Keal, Ulva and Mull. In the middle distance, the eastern edge of the islet of Eilean Annraidh (stormy island) adds a dramatic contrast of dark rocks in the largely light composition.

Cadell primed his boards with an absorbent gesso, which allowed him to achieve the chalky finish we see here. The dry paint surface perfectly captures the rocks and sand of the Iona landscape.

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57 HB123/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) CROFTS, IONA Signed, oil on board 37cm x 44.5cm (14.5in x 17.5in)

ÂŁ30,000-50,000

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Painted from beside the road running north from Iona Abbey, this painting shows the whitewashed cottages on the Cuil Phail croft. Looking east, in the middle distance are the rocks and hills of Ross of Mull and beyond is the mountain of Ben Buie.

Cadell was fascinated by the natural environment on Iona.

He was also very interested in the Iona community and often painted the abbey, the crofts, the farmers in the fields herding cows or working crops.

Bunty, as Cadell was familiarly known, was very much part of the Iona community. He visited the island almost every summer

from 1912, renting the same croft house (which he rearranged on each visit to suit his impeccable taste). Where Peploe focused on the views from the north, Cadell would be seen exploring the entire island, smoking his pipe, wearing his Campbell kilt and chequered tweed jacket.

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58 HB85/2 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) RHUM FROM THE NORTH END, IONA Signed, inscribed and dated ‘to G.W. Service - Sept. 1926’, watercolour 18cm x 25.5cm (7in x 10in)

£5,000-7,000

59 HB85/1 FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) CORNSTOOKS AND COTTAGES, IONA Signed, watercolour 18cm x 25.5cm (7in x 10in)

£6,000-8,000

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60 HA993/1 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1873-1935) GREY DAY, IONA Signed, oil on canvas, also painted verso with a study of Peploe’s sons with a cricket bat 51cm x 61cm (20in x 24in) Note: The painting depicts a view of Eilean Annraidh with Treshnish Point in the distance

£40,000-60,000

Cadell introduced Peploe to Iona in 1920 and the older artist was immediately captured by the island’s charms, returning on many occasions. Peploe painted entirely from the north of the island where the sand and rocks were particularly dramatic and offered stunning views of surrounding islands and distant headland. Even a small shift of viewpoint opened up a whole new vista, and both Peploe and Cadell were able to paint from the same position many times without repeating themselves or each other.

Grey Day, Iona is taken from the northernmost tip of the Island at Cows Rock, looking over the Strait of Storm. The brown rocks in the middle distance are the eastern edge of Eilean Annraidh and on the

horizon is the outline of Treshnish Point and northwest Mull. A similar composition, Iona, Grey Day is held at Aberdeen Art Gallery & Museum.

Where Cadell’s paintings of Iona have the feeling of a transient moment, Peploe’s are far more solid and steadfast. Looking at Grey Day, Iona, one is reminded that the landscape on Iona has hardly changed for thousands of years. Peploe emphasises the volume of the rocks, their weight and permanence and pays tribute to the unspoilt splendour of the Hebrides.

The study painted on the verso of Grey Day, Iona.

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61§ HA997/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) A BORDER LANDSCAPE Signed, gouache 39.5cm x 48cm (15.5in x 18.75in)

£3,000-5,000

62§ HA70/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) A BORDERS LANDSCAPE Signed, watercolour 42cm x 51cm (16.5in x 20in)

£4,000-6,000

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63ยง HB21/1 ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., R.O.I., R.B.A. (SCOTTISH 1895-1965) VICTORIAN CORNER Signed, watercolour 56cm x 51cm (22in x 20in)

ยฃ4,000-6,000

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64§ HB39/ JAMES MICHIE (SCOTTISH 1891-1969) FRENCH STREET SCENE Signed, oil on board 45.5cm x 58cm (18in x 23in)

£2,000-3,000

65§ HB43/1 WILHELMINA BARNES-GRAHAM (SCOTTISH 1912-2004) ST. ANDREWS BAY SERIES (14) Signed, signed inscribed and dated 1981 on the backboard, mixed media 13.3cm x 19cm (5.25in x 7.5in)

£1,500-2,000

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66§ FF243/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN IN A HAT LOOKING DOWN Conté 21cm x 12.5cm (8.25in x 5in)

£2,000-3,000

67§ FF243/2 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN IN A HAT Conté 21cm x 12.5cm (8.25in x 5in)

£2,000-3,000

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68§ HA968/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) CASSIS FROM THE EAST Signed and dated 1931 verso, oil on canvas 66cm x 53cm (26in x 21in) Provenance: Lefevre Gallery, London Private Collection Exhibited: Lefevre Gallery, London 1932 McClellan Galleries, J.D.Fergusson, First Retrospective Exhibition, Glasgow, 1948, no.34 Saltire House, Edinburgh Festival, Edinburgh 1952 Hazlitt Gallery, An Exhibition of Paintings Past and Present by J.D. Fergusson, London 1952, no.23 Fine Art Society, Art in Scotland 1800-1920, London and Edinburgh 1980 The Scottish Gallery, La Vie Boheme, Edinburgh 2013, no.72

£60,000-80,000

J.D. Fergusson first visited Cassis in 1913 with S.J. Peploe. That year both artists produced a number of paintings and drawings of the picturesque harbour town.

The First World War interrupted travel in France for all four of the Scottish Colourists and from 19141928 Fergusson was based in London. In 1929 he moved back to Paris and from there he made excursions to Dinard in Brittany and to the South of France. Between 1930 and 1931 Fergusson painted some of his most successful postwar subjects. The period saw a perfect synthesis of Cézanne-inspired Impressionism and elements of Cubism. In Dinard, the clear, sharp light and pale colours of the town gave rise to a new, more subtle, and yet utterly vibrant vision and in Cassis from the East, we see the same energy and delicate palette.

The sun-baked town of Cassis, with the church bell

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tower at the centre, radiates heat. There is a sense of movement in the palm fronds and the painting shimmers with light. Although the Cote d’Azur had become a cultural centre for writers and artists during the 1920s, the towns along the coast were still unspoilt and for Fergusson in particular, the natural environment of the hills, trees and sea were essential to his vision of ‘Rhythm’ in life and art.

In 1931 the French state acquired Fergusson’s La Déesse de la Rivière from Galerie Georges Petit’s group exhibition, Les Peintres Ecossais which featured works by all four of the Scottish Colourists. The acquisition for the French National Collection was a significant act of recognition and reflected the strength of the work Fergusson was producing at this time.

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69§ HA341/1 JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) HEAD OF A GIRL Signed with initials and dated ‘57, oil on board 24.5cm x 29.5cm (9.5in x 11.75in)

£6,000-8,000

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70§ HA417/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) TIME PASSED Watercolour 63.5cm x 98cm (25in x 38.5in) Provenance: Bruton Gallery, Somerset Everard Reed Gallery, Johannesburg

£2,000-4,000

71§ HA796/2 DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) HORSE, CART AND BUILDINGS, FLORENCE, c. 1956 gouache and charcoal on paper 45cm x 57cm (17.5in x 22.5in)

£1,000-1,500

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GEORGE LESLIE HUNTER ‘Everyone must choose his own way, and mine will be the way of colour’ Hunter lived an erratic life, plagued by tragedy and struggle. He battled with physical and mental illness throughout his life and, in a very bittersweet set of circumstances, died relatively young, just as he felt his career was taking off, following the purchase of one of his paintings by the French State for their national collection. When informed of the sale, he reportedly claimed ‘I have been kicking at the door so long, and at last it is beginning to open.’

Yet despite all of these setbacks his paintings remained full of joy, life and, most importantly, colour.

Though, like Fergusson, Hunter was self-taught, his work as a freelance illustrator in the States funded a trip to Paris around 1905, and he returned

72 HB56/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A STILL LIFE WITH FRUIT AND FLOWERS ON A WHITE CLOTH Signed, oil on board 51cm x 69cm (20in x 27in)

£40,000-60,000

permanently to Scotland following the destruction of what is thought to be virtually all of his paintings and possessions in the San Francisco Earthquake of 1906. After a financially difficult few years, he came to the attention of the art dealer Alexander Reid, who organised his first solo exhibition in Glasgow in 1913.

This was the beginning of a successful partnership with Reid and an ongoing series of exhibitions. The economic freedom Reid’s support and contacts provided allowed Hunter to travel extensively between London, Scotland and France, for the rest of his life.

In the early stages of his career, until the end of WW1, while the other three Colourists were regularly in Paris and creating some of their most innovative pictures, Hunter remained focussed on the work of seventeenth century Dutch Masters, as well as the paintings of Chardin and Manet. He was committed to painting still life compositions of flowers, fruit and glassware against dark backgrounds and, during his early visits to Paris, viewed Post-impressionist painting by artists such as Cezanne, Picasso and Matisse with horror.

After the war, however, Hunter developed a deeper understanding of Cezanne’s

radical approach to painting and began exploring the same principles in his own work, moving away from naturalistic depictions and using different approaches to demonstrate the ‘weight’ of an object. From 1919, he experimented with his still life paintings, creating balanced compositions with textural surfaces, and pale background colours highlighting the vibrancy and freshness of the fruit.

Despite using cool colours alongside contrasting bold shades, he masterfully balances them into a coherent, harmonious artwork. Specific items, such as a distinctive black vase from Still Life, appear repeatedly in these paintings.

By 1923-25, in paintings such as A Still Life with Fruit and Flowers on a White Cloth, he was experimenting with different compositions, focussing on a darker background, with distinctively patterned curtains and a panelled door adding interest and texture to the backdrop and allowing him to create pattern across the entire surface of the painting. This allowed him to combine his developments inspired by Cezanne’s view of form with the flattened, design principles demonstrated by Matisse into his own vision and style of still life painting.

Hunter was never satisfied with a particular style or

approach for long and was always looking ahead, claiming ‘I cannot go back. It is impossible for an artist to retrace his steps. He must go forward.’ So he continued to develop his style, writing to Reid in 1928, ‘I am working in a thin fashion.’ This was a completely new approach for Hunter, which he developed following a period of working mostly on drawings. He used this thinned paint technique, with areas of exposed canvas, to create expressive still life and landscape compositions, including Still Life of Mixed Flowers. For the most part, Hunter’s experiments in creating his own style and approach from the principles of European PostImpressionist art were extremely successful creating lively, vibrant paintings.

However, he did sometimes struggle to finish works and to negotiate a successful composition. This was not helped by recurring health problems and his unfortunate habit of attempting to ‘improve’ paintings after a night on the town.

During this period of committed artistic development in the 1920s, Hunter also exhibited for the first time with the artists now known as the Scottish Colourists, Peploe, Cadell and Fergusson: in Paris in 1924, London in 1925 and finally in 1931, again in Paris.

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73 FG412/14 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE Signed, oil on board 43cm x 53cm (17in x 21in)

74* HA71/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) STILL LIFE OF MIXED FLOWERS Signed, oil on canvas 38cm x 46cm (15in x 18in)

£20,000-30,000

Provenance: Thomas Agnew & Sons, London no.35507 Alexander Reid Exhibited: Carnegie Institute, Pittsburgh, U.S.A. Aitken Dott & Son, Edinburgh, Recent Acquisitions, 1977, no.77

£50,000-70,000

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75 HB48/3 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) A GARDEN PARTY Signed, watercolour, heightened with white 37cm x 50cm (14.5in x 19.75in) Provenance: Chrisitie’s, Glasgow, 11 December 1986, lot 248 Literature: The Society Pictorial, July 11, 1903, Illustrated p.384 Hunter Revisited, Bill Smith and Jill Marriner 2012, Illustrated p.33, no.14

ÂŁ10,000-15,000

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The publication of drawings such as this in the Society Pictorial, a Glasgow weekly magazine, are evidence that by 1903 Hunter was spending time in Scotland with his family before extended trips to the Continent to explore the art scene of Paris. A Garden Party, a fully worked up drawing in ink, watercolour and bodycolour, is believed to be the only surviving drawing

from the whole series he did for the Society Pictorial from April 1903 to December 1904.

Charming and rare, this composition demonstrates the skilled draughtsmanship in the depiction of a crowd, and individuals, by a Scottish Colourist now remembered for his still life paintings.

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76 HB46/1 GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) RECLINING NUDE Signed, pen and ink and coloured chalks 16cm x 32cm (6in x 12.5in)

£2,000-3,000

77§ HA770/4 ROBERT COLQUHOUN (SCOTTISH 1914-1962) HOUSE FRONT MARSEILLES 1938 Inscribed beneath mount, pen and ink and sepia wash 19.5cm x 24cm (7.75in x 9.5in)

£2,000-3,000

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78§ SV388/14 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) LANDSCAPE WITH CATTLE Signed, pen and ink and pastel 8cm x 23cm (3.25in x 9.75in)

£2,000-3,000

79§ HB39/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE PLOUGH Pastel on buff-coloured paper 53cm x 65cm (20.75in x 26in)

£4,000-6,000

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80§ HB62/1 JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CATTERLINE LANDSCAPE Oil on board, irregular 11cm x 21.5cm (4.25in x 8.5in) Provenance: The work was painted by Joan Eardley as a gift for the current owner's birth in August 1963, the same month Eardley died. Oscar and Anne Marzaroli (the owner’s parents) visited Joan, staying with her in Catterline, Oscar photographing her and Angus Neil at work. This work is one of several paintings gifted by Joan to the family.

£6,000-8,000

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81§ HA693/5 VICTORIA CROWE O.B.E., D.H.C., F.R.S.E., M.A., R.S.A., R.S.W. (SCOTTISH b. 1945) SNOWBANK, SUN AND SHADOWS Signed and dated ‘79, oil on board 76cm x 54.5cm (30in x 21.5in) Exhibited: Thackeray Gallery, London 1980

£3,000-5,000

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82ยง HA782/1 SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992) CATHEDRAL INTERIOR Oil on canvas 76cm x 76cm (30in x 30in) Note: The painting was commissioned by the current owners in the mid 1980s

ยฃ6,000-8,000

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83§ HB97/1 ALAN DAVIE R.A. (SCOTTISH 1920-2014) FOR A LITTLE SCRIBE NO.1 Signed, inscribed and dated Dec ‘68 verso, oil on panel 25.5cm x 30.5cm (10in x 12in)

£4,000-6,000

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84ยง HB45/1 STEVEN CAMPBELL (SCOTTISH 1953-2007) OUTSIDE RIGHT Oil on canvas laid on board 94cm x 106cm (37in x 41.75in) Exhibition: Steven Campbell, outside right at the sunset gate. William Hardie Gallery, Glasgow, 1994.

ยฃ3,000-5,000

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85ยง HB48/2 WILLIAM BURNS R.S.A., R.S.W., R.I. (SCOTTISH 1921-1972) SEA HOUSE 6 Oil on board 76cm x 101cm (30in x 40in)

ยฃ3,000-5,000

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86§ JOHN BYRNE R.S.A. (SCOTTISH b. 1940) NIGHT GARDEN Signed ‘Patrick’, oil on canvas 71cm x 91cm (28in x 36in)

£4,000-6,000

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87§ EDOUARDO PAOLOZZI R.A., H.R.S.A. (SCOTTISH 1924-2005) BEETLE Bronze 9cm (3.5in) long

£2,000-3,000

88§ GERALD LAING (BRITISH 1936-2011) PRINT Signed, inscribed, dated and numbered 'London 1965' 22/46, painted stainless steel 42.5cm (16.75in) long

£1,500-2,000

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Born in Newcastle in 1936, Gerald Laing had been schooled at Sandringham and was destined for a military life. It was not until the 1950s that he began, with total focus and vigour, to devote himself to his previously suppressed artistic abilities. He enrolled at Central Saint Martin’s College of Art, developing the graphic Pop Art style for

which he would be famed throughout the 1960s. Upon graduating in 1964, Laing moved to New York where he enjoyed a decade as a celebrated and widely exhibited member of the Manhattan art scene.

His move towards sculpture commenced in 1965, continuing apace upon his purchase and renovation of

Kinkell Castle in Ross and Cromarty, Scotland. Before long he had mastered the art of bronze casting and developed his own foundry on the estate, initially sculpting in an abstract manner, as in the example offered here, before ultimately moving away from his Pop Art roots towards figuration.

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89ยง HB91/1 STEVEN CONROY (SCOTTISH b. 1964) THE ARCHITECT Signed, inscribed and dated 1997, oil on board 76cm x 66cm (30in x 26in)

ยฃ5,000-7,000

END OF SALE

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Fine Furniture & Works of Art Wednesday, 14th January, 2015 33 Broughton Place, Edinburgh HENRY BONE R.A. (BRITISH 1755-1834) ROBERT DUDLEY, EARL OF LEICESTER enamel on copper, signed 20.5cm x 17cm (8in x 6.75in) Provenance: George John Danvers Butler, later Lord Lanesborough of Swithland Hall, Leicestershire

£5,000-7,000

HENRY BONE R.A. (BRITISH 1755-1834) ELIZABETH CAREY, DAUGHTER OF LORD HUNSDON, AFTERWARDS LADY BERKELEY enamel on copper 18cm x 14cm (7in x 5.5in) Provenance: George John Danvers Butler, later Lord Lanesborough of Swithland Hall, Leicestershire

£4,000-6,000

ENQUIRIES Douglas Girton Tel: +44 (0)131 557 8844 douglas.girton@lyonandturnbull.com

Theodora Burrell Tel: +44 (0)131 557 8844 theo.burrell@lyonandturnbull.com

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Index Barnes-Graham, W., 65 Bone, M., 37-42 Brough, R., 22 Burns, W., 85 Byrne, J, 86

Fergusson, J.D., 66-69 Frazer, W.M., 23

Cadell, F.C.B., 56-59 Cameron, Sir D.Y., 35, 36 Campbell, S., 84 Colquhoun, R., 77 Conroy, S., 89 Crawhall, J., 32, 33 Crowe, V., 81 Crozier, W., 48

Halswell, K., 11 Henry, G., 31 Hornel, E.A., 25 Houston, G., 10, 17 Hunter, G.L., 72-76 Hurt, L.B., 9 Hutchison, R.G., 18-21

Gauld, D., 13-16 Gillies, Sir W.G., 51-55

Macwhirter, J., 12 Maxwell, J., 43 McClure, D., 71 McGhie, J., 26 McTaggart, W., 6, 8 Michie, J., 64 Milne, J.M., 50

Traquair, P.A., 27 Watson, G., 1 Wingate, Sir J.L., 24

Nasmyth, J., 4 Paolozzi, E., 87 Patrick, J.M., 45, 47 Peploe, S.J., 60 Philipson, Sir R., 70, 82

Kay, J., 46 Davie, A., 83 de Breanski, A. Snr., 5 Downie, P., 30 Duncan, J., 29

Laing, A.R., 7 Laing, G., 88 Lavery, Sir J., 34

Eardley, J., 78, 79, 80

Mactaggart, Sir W., 49

Raeburn, Sir H., 3 Ramsay, A., 2 Redpath, A., 61, 62, 63 Smart, J., 44 Stronach, A., 28

Glossary of Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Studio of ... / Workshop of ...

In our opinion a work executed in the studio or workshop of the artist, possible under his supervision

Attributed to...

In our opinion probably a work by the artist in whole or in part.

Circle of ...

In our opinion a work of the period of the artist and showing his influence.

Follower of ...

In our opinion a work executed in the artist’s style but not necessarily by a pupil.

Manner of ...

In our opinion a work executed in the artist’s style but of a later date After ...

In our opinion a copy (of any date) of a work of the artist.

Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist.

Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist.

Dimensions are given height before width.

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Books, Manuscripts, Maps & Photographs Wednesday, 28th January, 2015 33 Broughton Place, Edinburgh

The Golden Age of Illustration A fine collection of limited edition works illustrated by Arthur Rackham, Edmund Dulac and Kay Nielsen from The Estate of the late Lady Mary Stewart

VIEWING Sunday, 25th January 12 noon - 4pm Monday, 26th January 10am - 5pm Tuesday 27th January 10am - 5pm Morning of Sale from 9am

ENQUIRIES Simon Vickers simon.vickers@lyonandturnbull.com Tel: +44 (0)131 557 8844 Cathy Marsden Tel: +44 (0)131 557 8844 cathy.marsden@lyonandturnbull.com

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Select Jewellery & Watches Wednesday, 10th December, 2014 33 Broughton Place, Edinburgh

IWC - International Watch Co. Ltd. Schaffhausen Le Grande Complication Circa 1992, Edition No. 11/50 Dial diameter: 42mm

ÂŁ60,000-80,000

VIEWING Sunday, 7th December 12 noon - 4pm Monday, 8th and Tuesday 9th December 10am - 5pm Morning of Sale from 9am

Enquiries Trevor Kyle Tel: +44 (0)131 557 8844 thk@lyonandturnbull.com Ruth Davis Tel: +44 (0)131 557 8844 ruth.davis@lyonandturnbull.com

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Board of Directors

Specialist Departments

Chairman Sir Angus Grossart

Pictures, Watercolours and Prints Nick Curnow Charlotte Riordan Emily Johnston (London) Carly Shearer

Vice Chairmen Paul Roberts Nick Curnow Managing Director Gavin Strang International Director Lee Young Directors Campbell Armour Trevor Kyle John Mackie Mhairi McFadden Associate Director Alex Dove

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Furniture, Clocks and Works of Art Douglas Girton John Mackie Theo Burrell Asian Works of Art Lee Young Anna Westin (consultant) Sara Pierdominici

European Ceramics and Glass Douglas Girton John Mackie Rare Books, Maps, Manuscripts and Photographs Simon Vickers Cathy Marsden Arms and Armour Colin Fraser John Batty (consultant)

Rugs and Carpets Gavin Strang Jewellery, Silver, Coins and Medals Trevor Kyle Ruth Davis

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

email: info@lyonandturnbull.com www.lyonandturnbull.com

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Decorative Arts and Design John Mackie Theo Burrell

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

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Valuations Department

Administration

Lyon & Turnbull are one of the leading specialist valuation companies in the UK. In Scotland, we specialise in Inheritance Tax, Capital Gains Tax and other tax planning valuations.

Finance Director Mhairi McFadden

Edinburgh Tel: +44 (0)131 557 8844 Glasgow Tel: +44 (0)141 333 1992 valuations@lyonandturnbull.com Valuers Campbell Armour Trevor Kyle Gavin Strang Client Services Glasgow & the West Linda Robinson Edinburgh & the East Tessa Robson Eleanor Welsh Insurance & beyond Scotland Insurance valuations and other types of valuation in the rest of the UK and internationally are looked after by our partner valuations company, Pall Mall Art Advisors.

Pall Mall Art Advisors Tel: +44 (0)845 882 2794 enquiries@pallmallartadvisors.com

Office Manager Laura Henderson Accounts Flo Marshall Eileen Welsh Sarah Laing Administration Edinburgh Kim Aitchison Eleanor Welsh Jennifer Somerville Glasgow Linda Robinson James McNaught Saleroom Staff Sydney Drew David Robertson Scott Mitchell David Fiddes Valerie Kyle Press and Public Relations Philip Gregory Marketing Alex Dove Matt McKenzie Grace Browne Photography Alex Robson

London and Southern England

Business Development

Ian Peter MacDonald Tel: +44 (0)20 7930 9115 ianpeter.macdonald@lyonandturnbull.com

Paul Roberts Ian Peter MacDonald Lindsey Michie James McNaught Steven Moore John Thomson Tessa Thomson Lady Middleton

Lee Young Mobile: +44 (0)7825 426555 lee.young@lyonandturnbull.com Emily Johnston Mobile: +44 (0)7741 247225 emily.johnston@lyonandturnbull.com

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We understand that your collection is worth more than the sum of its parts.

Collections sell better as collections. That belief is at the heart of our approach to auctioneering. Over the course of our long history, we have seen this borne out time and time again: from the contents of grand homes to corporate collections, from contemporary art to Chinese snuff bottles; there is little we have not handled and sold well.

Each collection is unique and often has an emotional connection to the owners who create or inherit them. Our team work closely with our clients to provide a carefully tailored approach to the sale of their collections.

Personal, passionate and professional - we deliver outstanding results.

Paul Roberts

Gavin Strang

+44 (0)131 557 8844

+44 (0)131 557 8844

paul.roberts@lyonandturnbull.com

gavin.strang@lyonandturnbull.com

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Bidder No

Bidding Form Sale/customer details

Telephone bid

Commission bid

Edinburgh Saleroom

Sale Title

33 Broughton Place Edinburgh EH1 3RR

Sale Date

Telephone 0131 557 8844

Sale No.

Title

Initials

Fax 0131 557 8668

Client No

email: info@lyonandturnbull.com

if known

Surname

www.lyonandturnbull.com

Address

I understand that if any of my bids are successful, the total price payable will be the amount of the final bid, plus a buyer’s premium calculated at 25% up to £25,000 then 20% thereafter.

Postcode Telephone

Telephone 2

VAT will be charged on the premium.

The premium and VAT is payable by all purchasers.

E-mail May we email you in future regarding similar sales?

YES

NO

How did you hear about this sale?

Lots in the catalogue marked † are subject to VAT at the standard rate on the hammer price. The symbol * by a Accompanying 1.Government-issued photo ID 2. Proof of address lot number indicates that the lot has Documents: (Passport / Driving License / National ID card) (Utility Bill / Bank Statement / Letter from Tax Authority) been temporarily imported from We may, at our discretion, ask you to provide a bank reference and/or a deposit as a condition of authorising you to bid outside the EU and that VAT is payable by the purchaser at the rate of 5% on the hammer price and the buyer’s Lot No. Description £ Sterling limit Excl. Premium & VAT (Commission bid only) premium.

Have you registered to bid with Lyon & Turnbull before?

YES

NO (if No please provide the following:)

No VAT is payable on the hammer price or premium for books bought at auction.

Lots in the catalogue marked § are subject to Droit de Suite or Artist’s Resale Right. Please ask us for details or see our conditions of sale.

Where there are identical bids for a lot, the first received will be executed.

Please make certain that your bids are submitted at least one hour before the start of the sale.

We will do our utmost to ensure all commission and telephone bids are executed, however this can not be guaranteed and is a service offered at the bidders risk.

I request Lyon & Turnbull, without legal obligation of any kind on its part, to bid on the above up to the prices listed. I understand that if any of my bids are successful, the total price payable will be the amount of the final bid, plus a buyer’s premium calculated at 25% up to £25,000 then 20% thereafter. VAT will be charged on the premium.

I confirm that I accept and will bid in accordance with the terms and conditions of sale as printed in the catalogue, detailed on the Lyon & Turnbull website or available for inspection in the saleroom, subject to any amendment announced or published by Lyon & Turnbull prior to the fall of the hammer.

Bidding Form - version 14.1 Client Signature OFFICE USE ONLY

Date Received by:

Time:

Photo ID:

Proof of address:

Date:

Bidder No: Bank ref/deposit:

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CONDITIONS OF SALE SELLERS 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Buyer“ is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer‘s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon & Turnbull and the Seller; “Lot“ means each Item offered for sale

by Lyon & Turnbull; “Lower Estimate” means the low estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Lyon & Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon & Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on “Purchase Price” is the Hammer Price and applicable Buyer‘s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Upper Estimate” means the high estimate provided by Lyon & Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon & Turnbull holds on behalf of the Seller; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “You”, “Your” means the seller “Us”, “Our”, “We” etc refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. WARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing

with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided Lyon & Turnbull with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises Lyon & Turnbull in writing to the contrary on delivery of the item to Lyon & Turnbull, there are no restrictions on Lyon & Turnbull rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

3. PREPARATION FOR SALE (a) Lyon & Turnbull shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) Lyon & Turnbull will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by Lyon & Turnbull is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in Lyon & Turnbull’s absolute discretion be revised from time to time.

(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. RESERVES (a) You are entitled to place, prior to the auction, a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, Lyon & Turnbull may treat the Seller as bound as Seller and as Buyer but without the benefit of Lyon & Turnbull Authenticity Guarantee or the reserve, and/or pursue other remedies. (e) We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price.

7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below Lyon & Turnbull will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by Lyon & Turnbull and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale;

(d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing

(ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or

4. TERMS OF SALE

(c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, Lyon & Turnbull’s liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).

The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

5. STANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30.

Online Listing: £10 per lot.

(2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense.

We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at the initial settlement.

(iii) 6 months from the date of delivery to Lyon & Turnbull for items still in the possession of Lyon & Turnbull but not consigned for sale (unless part of a long-term storage agreement). (b) Lyon & Turnbull shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT.

8. UNSOLD ITEMS (1) If an item is unsold it may, with your consent, be re-offered at a future sale.

Where in our opinion an item is not suitable for a future sale we may either request (a) you collect such items from the saleroom promptly on being so informed. We shall be entitled to charge you for storage costs, charges shall be made at a reasonable daily rate; or (b) suggest that the item be transferred to a secondary saleroom for sale without reserve. All transferred lots will be sold for the best price on the day, this may not bear

any reflection on the item’s original estimate. Lyon & Turnbull are not liable for any items (whether it be selling price or loss & damage) when transferred.

(2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original auction. In which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Conditions apply.

9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) Lyon & Turnbull may withdraw a lot from the proposed sale without any liability if: (i) Lyon & Turnbull reasonably believes that there is any doubt as to the lot‘s authenticity or attribution; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when Lyon & Turnbull took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST. The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

11. NON-PAYMENT BY THE BUYER (a) Lyon & Turnbull will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) Lyon & Turnbull, in consultation with the Seller, will decide whether to pursue any of the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller.

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Lyon & Turnbull will inform the Seller of any action which it contemplates taking against the Buyer.

these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) lf the Seller elects to take action against any Buyer on its own behalf Lyon & Turnbull will provide the Seller with such assistance as may be reasonably necessary to pursue that action.

(c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) The Seller hereby agrees to inform Lyon & Turnbull of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot.

12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds.

Payment will be made by cheque or BACS (if requested).

13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under

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(d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

14. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

have been received by the addressee 48 hours after posting.

only and disclaims any responsibility for default by Sellers or Buyers.

(c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.

17. DATA PROTECTION

(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

15. GENERAL

16. AGENCY

(a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

Lyon & Turnbull acts as agent solely for and in the interests of the Seller.

We do not act for Buyers in this role and does not give advice to Buyers.

When Lyon & Turnbull make a statement about a lot it is doing so on behalf of the Seller of the lot.

(b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to

The Auctioneer normally acts as agent

In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

18. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

BUYERS The Auctioneer carries on business with bidders, Buyers and all those present in the auction room prior to, or in connection with, a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

behalf of the Seller of the lot.

1. DEFINITIONS

(a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid;

In these Conditions of Sale (Buyers): “Auctioneer” means Lyon & Turnbull Ltd or its authorised auctioneer, as appropriate; “Hammer price” means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; “Lot” means each Item offered for sale

by Lyon & Turnbull; “Purchase Price” is theh ammer Price and applicable Buyer‘s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means the Buyer “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. AGENCY Lyon & Turnbull acts as agent solely for and in the interests of the Seller.

We do not act for Buyers in this role and does not give advice to Buyers.

When Lyon & Turnbull make a statement about a lot it is doing so on

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

3. BIDDING PROCEDURES AND THE BUYER

we will use reasonable efforts to contact them to enable them to participate in bidding by telephone. We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(b) The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion.

4. INCREMENTS

(c) Once made, no bid may be withdrawn.

For each lot purchased a Buyer‘s Premium of 25% is payable on the first £25,000 of the hammer price, 20% thereafter. VAT at the appropriate rate is charged on the Buyer‘s Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction.

(d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved. (f) Commission Bids: While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale

Bidding increments shall be at the Auctioneer’s sole discretion.

5. THE PURCHASE PRICE

Live online bidding is subject to an additional 3% premium (charged by the live bidding service provider Invaluable). This additional premium is subject to VAT at the appropriate rate as above.

6. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant lots.

(1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not

operating under a Margin Scheme.

(2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items.

(3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above.

7. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above ¤1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale.

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More information on Droit de Suite is available at www.dacs.org.uk.

8. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. We do not accept American Express. (b) Please note there is a surcharge of 2% when using credit cards. (c) Please note that under The Money Laundering Regulations 2007 we cannot accept cash payments over ¤15,000 (euros).

(2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied.

9. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(3) No purchase can be claimed or removed until it has been paid for.

(4) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for lots not collected by the appropriate time.

(5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the lot.

10. REMEDIES FOR NON·PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the contract for sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs).

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(d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied.

11. DESCRIPTIONS AND CONDITION (1) whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given.

(2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavor to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers.

(3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change are for guidance only and should not be relied upon.

(4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale.

(5) Electrical Goods: are sold as

“works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(7) Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

These notices and terms will also form part of our terms and conditions of sales.

12. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any NAMED item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings NOR in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text NOR in respect of Defects mentioned in the catalogue, or at the time of sale, NOR in respect of lots sold for less than £300.

(2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply that the lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, Lyon & Turnbull makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Bidders should also be aware that Lyon & Turnbull cannot guarantee a watch will remain waterproof if the back is removed. Bidders should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted.

These watches may not be shipped to the USA and can only be imported personally.

13. CITES

agreed charges for Sellers and Buyers. (c) Lyon & Turnbull undertakes to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

15. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, or at, a sale.

16. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to Lyon & Turnbull should be in writing and addressed to Nick Curnow at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent. No act, omission or delay by Lyon & Turnbull shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

17. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of Lyon & Turnbull’s services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). Lyon & Turnbull will not give out personal information except as may be required by law.

If you would like further information on Lyon & Turnbull policies on personal data, or to make corrections to your information, please contact us on +44 (0)131 557 8844.

Please be aware that all lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvlaen/imports-exports/cites/

18. LAW AND JURISDICTION

14. SALE BY PRIVATE TREATY

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

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Waverley Station Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom.

St Andrew Square

T

York Place Tram Station

Lyon & Turnbull saleroom

Local Deliveries A&S Pert Removals.

Tel. +44 (0)7876 343520.

Thistle Removals Tel: +44 (0)7836 774712 Email: thistleremovals@hotmail.co.uk New Leaf Removals Tel: +44 (0)7999 926261 Email: info@newleafremovals.co.uk Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

Smaller items & Pictures Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Aardvark Art Services Ltd Birks Farm, Ballam Road Lytham, Lancashire FY8 4NL Tel: +44 (0)1253 794673 Fax: +44 (0)1253 730580 Email: info@aardvarkartservices.com

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale.

Thereafter lots will be removed to store in Edinburgh and a charge incurred.

Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2014. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

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LYON & TURNBULL AUCTIONEERS EDINBURGH SCOTTISH PAINTINGS & SCULPTURE

email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

11TH DECEMBER 2014

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

Thursday, 11th December, 2014 33 Broughton Place Edinburgh EH1 3RR